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It was a daunting task to select just one project from the multidisciplinary designer Michael Vanderbyl that was created within the past year. I do know though that when I enter a space he designed, I enter the very adjectives that reflect Michael himself, together with his design sensibilities—elegant, nuanced, grand and immaculate. His work, much like Michael himself, always manages to combine a minimalist elegance with an ethereal warmth. In all of Michael Vanderbyl’s projects, from print to architecture, you can neither remove one item or add one item, as he crafts the perfect symmetry. Below are descriptions of just a few of the spaces he has created for Teknion in 2012. |
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I fell in love with the simplicity of Felix Pfäffli’s Lucerne Cultural Centre Südpol poster immediately upon viewing it. His architectural draping of type marries an extravagance with his confident use of one color. This is really what only a truly gifted designer can achieve. It was an extreme pleasure to be introduced to his work. |
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In this simple (yet intricately complex) piece, I’m intrigued by the deceptive simplicity—yet highly skilled typographical execution—of the “office” composite, with its seeming abandon of fluorescent post draped architecturally across the space. I want it...and I want to know how to do it. Two of my highest compliments. |
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I first saw Pieterjan Gijs and Arnout Van Vaerenbergh’s see-through chapel, titled Reading Between the Lines, in Limburg, Belgium on a news clip. With only a brief glance, it haunted me. The chapel conveyed exactly what I wanted a church to be...what I wanted the world to be...I could live here...in this beautiful building...this wonderful concept...that at first appears as simple lines from a distance...and lets you live in a transparent place with God. |
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The dual emotions of aloneness and melancholy seem to be a relevant concept when grasping the minimalist abstractions that are Jurek Wajdowicz’s photographs. To say “photographs” at once defies the visual impact that is experienced when first viewing one of his oversized artworks, which blend his subject matter into the intimate and then strip it of any mundaneness. Indeed, his pictures are—at most times—hard pressed to be labeled photography, as the viewer walks away with something intimate, sad, melancholy and surprisingly ethereal while striving to believe he has actually viewed a photograph and not a painting. |
